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Erdem SS15 Show at London Fashion Week

Erdem Spring/Summer 2015 Show
Erdem Spring/Summer 2015 Show
We’re running a ‘Future Fashions’ theme at Litro this month so I was sent off to write a piece about the Erdem Spring/Summer 2015 Show at London Fashion Week 2014.

 

The palette was subdued, with lots of dark green, ochre and brown, maybe to match the mood of the outside world.  Sleeveless tweed made an appearance  with a deconstructed jacket and an elegant dress. The botanical theme was repeated on dresses appliquéd with dark green flowers and leaves. Floaty silk was printed with splashes of ochre on cream. Most stunning was a jacket made with lustrous black feathers, followed by a matching dress. Both made the models look like wild birds poised to fly back into the shelter of the woods.

The fashion theme is running all this month so do submit your pieces for the non-fiction section I edit at Litro online.

 

 

 

Editing

Shakespeare in the Hands of Thomas Decker

 

Photo by George Tregson Roberts.
Photo by George Tregson Roberts.

I was delighted when George Tregson Roberts accepted to write a piece for Litro’s Shakespeare theme about how Sierra Leonean dramatist Thomas Decker translated Julius Caesar into Krio. I’d enjoyed an article by George Tregson Roberts in Wasafiri, in which he looked at Graham Greene’s relationship with Freetown, where The Heart of the Matter is set.

The piece that Roberts wrote for us,  A Tropical Bard and The Bard of Avon: Shakespeare in the Hands of Thomas Decker, A Sierra Leonean Dramatist,  is just as enlightening. It looks in particular at how Decker wanted to ensure that Sierra Leoneans stopped seeing Krio as an inferior language and understood that it could be used to express complex ideas.

“Stoop then, and wash. How many ages hence this our lofty scene be acted o’er.

In States unborn and accents yet unknown!” [Julius Caesar, Act 3 Scene I].

Shakespeare, in all his creative genius could not possibly have imagined that those words he wrote for Cassius would prove so prophetic. For, eighteen or twenty generations later, the words were being recited on a stage in an accent that Shakespeare could not have dreamt of, and in a setting that, ironically, was commemorating the closing chapters of an Empire that had given him voice. Another irony was that the language of the Sierra Leonean writer, Thomas Decker, in which Julius Caesar was being re-staged may well have had as long a history as that of the playwright‘s himself.